My “Conservative Gilda” Nightgown

The character of the woman Gilda, in the famous Rita Hayworth movie by the same name, is that of a bold woman, to say it tactfully.  In no uncertain terms, she is shown to the viewer – from that very first moment in the boudoir (watch it here on TCM) – that she is not scrupulous when using her female wiles for whatever emotional game or selfish desire she chooses to play upon.  The sheer tulle and off-the-shoulder nightgown says volumes.  Her character is so far removed from me, yet I love the relaxed, romantic aura of what she has on.  With a pattern already on hand that was quite similar, I hope to have tamed that famous Gilda nightgown into something more respectable.  Am I decent in this?  I think so.

THE FACTS:

FABRIC:  100% cotton flannel and a sheer polyester tiny tulle

PATTERN:  Hollywood #1479, year 1944 (I’ve already made the tied-front crop top here as part of a playsuit)

NOTIONS:  I had everything I needed for this on hand as it was all basic stuff – thread, some scraps of interfacing, and skinny elastic

TIME TO COMPLETE:  It took 5 hours to make and was finished on February 4, 2019

THE INSIDES:  French seams for the sleeves (including armscye), self-fabric bias binding for the neckline and bottom hem, raw edges for the long side seams

TOTAL COST:  The flannel was something I bought on deep discount when the now defunct Hancock Fabrics was going out of business – the tulle was just bought.  As the flannel was bought quite a while back for what must have been dirt cheap, I’m counting it as maybe $5 to $10.  Together with the $5 spent on the tulle, this is an under $15 glamorous steal of a nightgown!

This was a quick and ridiculously simple make for how nice it turned out.  Yet, at the same time it was a total fabric hog, especially since I chose the ankle length version (for both more warmth and elegance).  What is practically two giant rectangles comprise both the front and the back, taking up 3 ½ total yards of flannel!  This is partly the reason for the sheer sleeves – I flat out ran out of fabric for them.  However, hubby reminded me that sheer sleeves would bring my make closer to my chosen movie inspiration.  Two heads are better than one is a legitimately true phrase, but it’s always cool and surprising when that second brain – which isn’t sewing oriented – can be so helpful with my garment projects!

I chose tiny holed, super fine mesh tulle for the sleeves or a chiffon.  They have a bit more body in tulle to make for a nice blousing out above the cuffs which matches well with the heavier cotton body to my nightgown.  Chiffon can look droopy (as it does on the original Gilda nightgown), but that can also have its place with some styles.  Besides, something as slippery as chiffon did not sounds appealing to me on nightwear.  As sultry as that fabric can be, I think I understand the properties of chiffon and only imagined the fabric wrapping itself around my arms as I slept.  Whether that would happen or not, I didn’t take a chance.  The sleeves are two layers of tulle.  Two layers hopefully will be not as fragile as one seemed and lent more of a matching grey tone.

I have not been able to find any source which says what hue the original Gilda movie nightgown was, but for some reason (not just because it is in black and white) I picture it in a light color, close to no color.  Kind of like the ironic use of a pure and innocent white on Lana Turner in the movie “The Postman Always Rings Twice”, I could see the mischievous Gilda in a similarly demure costume to amplify her tempting, teasing demeanor.  Now, I could be totally wrong here, but anyway – these musings gave me a reason to use the material I did.  Flannel is my favorite nightwear material for lounging (used it for this nightgown already) and definitely more modest and practical.  While not as drafty or alluring as Gilda’s frilly, sheer gown, however, the print is pretty and delicate in the softest hint of a light grey scroll work motif.  I low-key complimented the print with the dove grey sleeves, but tried highlight it better by using a dark grey (albeit sheer, as well) ribbon as a belt.

The pattern called for a set waistband, one that either is elasticized or has a ribbon running through a sewn-on casing.  I left that out.  I like my waist free and unrestricted at night when I sleep, because this is still a nightgown that I am going to wear no matter how pretty it is!  Besides, I felt that seeing a ribbon around the waist, and not hiding it in a casing, would set a defined waistline better in this voluminous gown…hey it worked on Gilda!  Finally, having no set waistband is much more versatile, in my opinion.  I used a whole 3 yard spool for my ribbon tie because I absolutely love the way there are long ends that elegantly, dramatically flutter down, almost to the hem.

I kept the rest of the details as fuss-free as possible.  The cuffs around the wrist were instructed to be made like a regular blouse cuffs, but that is too much for nightwear.  I made them one piece and they just slip on or off of my wrist over my hand.  The neckline has elastic in the casing so I could easily wear this as a regular scoop neck or pull it off the shoulders for a full Gilda effect.  As the elastic is pretty thin and the neckline holds the entire weight of more than 3 yards of flannel, I have two strands of it through the casing.  In order to make the gathered ruffled neckline turn out (with the sheer material involved), I had to use more of the dress flannel for the casing and make a tiny “track” for maximum ruffling.  Thus, a thin, string-like elastic was the only way to go, anyway.  Simple, easy, so pretty, and timeless, vintage designs really know how to make nighttime clothes something to look forward to wearing at the end of a day!

This is the final post about the garments that I made for our trip to Denver, Colorado.  For these pictures, we were at our Alpine-style bed-and-breakfast the “Vasquez Creek Inn” at Winter Park.  The other garments I made for this trip included a refashioned boxy cropped pullover and a 1940s quilted jerkin with corduroy trousers.  Making a nightgown made me feel like I had a new, complete set for fun, fancy, or relaxing to bring with me!  Hotels are great for taking pictures of nightwear, anyway…they are an uncluttered, nicely decorated, different setting.  Not that our bedroom is an atrocious mess or not pleasant to see either, but we’ve already taken pictures there and as I’m not crazy about our old wallpaper, I didn’t want to do that again.  It’s always nice to take pictures where you’ve had good times away from home anyway, right?!

Simple Luxury – a 1940 Flannel Bias Nightgown

I’ve been wanting to post this for so long (two years), but it’s a nightgown so I don’t usually make sure to have make-up on and decently arranged hair in evening when I want to be cozy and relax!  This is the first part of a small three part February series of easy ways to do vintage for nighttime.  Emileigh of “Flashback Summer” blog beat me to the punch, and has a similar idea with her own “Lovely Lounging” series for February.

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Vintage fashion really knows how to make basic items so elegant and beautiful, and I think nightwear is one of the best examples of that, especially in the 1930s and 40’s.  Not that new luxury nightgowns cannot be found nowadays as well, but they tend to cost a lot of dough and are generally in static-attracting, non-breathable polyesters.  On the flip side, so many flannel nightgowns available (even today) are the “granny-style” Lanz of Salzburg type, completely vintage authentic, decent, quaint, and cozy.  Yet, I’m too afraid that a vintage one will end up tearing irreparably, so although they are so beautiful and still rather easy-to find in our town, I only own one and don’t wear it to sleep in.

100_4670-compwNow, the 1940 pattern I used for this nightgown’s post was so quick (a few hours), easy (only four pieces), required little fabric (just under 2 yards), and fits and feels wonderful to wear with the bias-cut skirt working in my favor.  This has the best of both elegance and warm comfort, not to mention it’s new and hand-made vintage.  I am totally hooked…I want one of these to wear every night!

Now you’ve also got a glimpse of our tiny 1930’s era bathroom, too.  Lucky for me I like lavender so much, since I see it every day!  We are proud to be one of the seemingly few homes in our primarily 1930’s/1940’s era neighborhood which still has many original features, especially in our bathroom.  We have lavender swirled Vitrolite tiles, powder grey/blue painted walls, and black and white tiled floor.  Odd combinations of colors were a popular craze starting in the late 1920’s…at least we don’t have colored fixtures, too!  Anyway, this architectural chat should postponed to get to “The Facts”.

THE FACTS:

FABRIC:  100% cotton brushed flannel in two prints – just under two yards of a purple and green floral with an aqua background, with an extra ¼ yard of a swirled purple print.

100_4669-compwNOTIONS:  Everything I needed was on hand already, only needs basic items: thread and bias tapes.

PATTERN:  Simplicity #3508, year 1940 (…this was such a lucky buy on Ebay, one of those where nobody bids and you get it for the dirt cheap starting price!)  By the way, look at this year 1940 Hollywood #544.  This Jane Wyman pattern is just about an exact copy of Simplicity #3508!

TIME TO COMPLETE:  From cutting out to finish took me about 3 hours.  It was finished on February 27, 2015.

THE INSIDES:  raw but nicely stitched over

TOTAL COST:  These fabrics were bought so very long ago (maybe 10 years back) from Hancock Fabrics, so I’m counting this as free.

This nightgown is a great example of a small niche in the decade of the 1940’s – pre-WWII times.  The fashion from 1940 to 1941 (and maybe 1942, for a stretch) has a very unique style in my eyes.  It shows strong influence of the styles from the decade before, the 1930’s, so much so that some early 40’s designs can be similar to as far back as about 1936.  Yet it is still the 40’s, too, so that lends its own touch to the styles.  The popular Tyrolean/Slavonic/Germanic designs of the late 30’s and the Latin American prints which spawned of the “Good Neighbor Policy” of 1933 was another way that influences carried over into the 40’s as well with such items as pinafores, peasant styles, dirndl-style embroidery, fun border printed skirts and dresses, Xavier Cugat music, novelty brooches, and unusual hats (like turbans, for one example)…this is just a short list.  Besides, rationing wasn’t in effect as of yet in America and our country’s designers were just beginning to hold their own against the other leading fashion headquarters of the world.  I see in the early 40’s a glimpse of something similar but yet apart from the rest of what 1940’s fashion became – it also gives me the sneaking haunch that had not WWII changed and influenced so much, the decade could have looked much differently than we know it.

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My duo of matching/contrasting flannel fabric has been something I’ve been holding onto for about a decade because I liked it so much and also because I wasn’t up for sewing nightwear until just a few years ago.  My original intent was pajama pants, but no – I have enough of them.  One night when I was in the strong mood to wear a vintage nightgown, I had finally felt I was holding onto the flannel long enough and laid my pattern and fabric out in the early evening and started cutting.  By late night (our bed-time) I had a new, glamorous nightgown.  Oh, thank goodness for uncomplicated, easy satisfaction projects!  I love it when you can start something and wear the results on the same day!  So many early 40’s patterns were labeled as simple-to-sew, when really they are complicated by today’s standards.  This nightwear pattern has no easy-to-make labeling, but it is truly a breeze.

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Perhaps the other best part was the fact there is no need for any closures.  No zipper, no snaps, no ties – the bias gives enough, and the pattern sizing is generous enough that this just slips on over my head.  No facings, either – just bias tape finished edges all around.  How easy can it get?  The flannel body keeps me warm enough, the sleevelessness gives me just enough to air to keep myself from being too hot, and if I’m chilly I’ll just cover up with my housecoat…another tease of what’s in the next post, sorry!

Before I forget to add fitting facts – this nightgown did run large (like 2 sizes too large).  Granted some extra room comes from the double facts that flannel gets larger as it is washed and worn besides extra ease needed to make this a slip-on gown (as I said above). However, I sewed a full front and a full back and then sewed the side seams as my last step so the fit is easily adjustable.  The nightgown pattern also was originally oh-so-very long.  I graded out about 10 inches from the length.  I do not need to trip all over an evening gown length just feel elegant in my bed wear! 100_6236-compw

The bottom hem band of contrast was added not so much to extend length (although I didn’t mind) but just to provide a matching contrast which would pair well with the tie belt.  I didn’t want just the aqua floral, not that it isn’t so pretty, but I had kept the purple swirl flannel paired with it for such a long time the two deserved to stay together.

As lovely and simple and quick as this nightgown was to make, this was (at the same time) another unprinted, hole-punched markings pattern where the pieces do not properly fit or match together.  The bodice needed to be cut smaller to fit into the skirt and the gathers didn’t seem quite equal, and I think this is mostly due to the skirt portion.  I have read before that unprinted patterns can be off-balance, because of the way they were made.  Large stacks of many, many layers of sheet are die cut and if you get one towards the bottom, its markings can be off – and anyone who sews knows that every little variation counts towards a successful finished garment.  Oh well, this is a simple enough design it was not hard to adjust, so I’m sorry if I seem like I’m complaining…just making an observation for you all just in case you happen to snag this pattern for yourself, too…and do buy it if you see it, and if it’s not too much for your wallet!

100_6224a-compwThere are plans in the works to use this pattern again, believe me.  Out of all the patterns in my collection, this one is a true asset in the way it is a good base, a tried-and-true starting point to tweak and draft off many other variations, especially some of the ever popular 1930’s era bias gowns.  Just imagine how this design would hang and drape in a lightweight sweater knit or a silk charmeuse for a dress version!  My immediate ideas for re-incarnations of my nightgown’s pattern are Simplicity #3835 (year 1941), one of these 1933 dresses or this 1935 evening dress (both from “Eva Dress”), and even this super elegant Butterick #5413 (year 1933).

For now, I just hope to make the bed jacket at some point to keep the chill off my arms when I don’t want the weight of a full housecoat.  I did make a bed jacket from a different pattern, modelling it over this post’s nightgown (link to see it here), but this was actually a present for my mother.

Stay tuned for the next installments of my vintage nightwear reveal.  Now, to decide which night wear project for myself to tackle next.  I actually have three in the queue – will you help me pick the next one?

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